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Jazz Combo - Level 4 - Digital Download SKU: A0.1201492 By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score and parts. 11 pages. Christopher Burnett #800111. Published by Christopher Burnett (A0.1201492). ORIGINAL MUSIC FOR JAZZ QUARTET This work is from series of 6 related pieces of new music that I have composed and arranged for a new Originals quartet that had its debut on Tuesday March 28 as the final concert of the 2023 season of the long running noontime spring jazz series at the Midwest Trust Center in the Kansas City metropolitan area. The music is written and arranged for a modern jazz quartet. I perform on alto saxophone with the multi-talented William Crain on piano, the master bassist Gerald Spaits, and the brilliant young drummer Morgan Rogers. The mockup audio demos posted are among the first set of compositions written for our group. I actually wrote and arranged all of this music with each of these quartet musicians’ artistry in mind and to record an album. However, I truly welcome other ensembles to perform and program these selections of music too.THIS MUSIC IS BASED UPON THE PHILOSOPHY OF ABUNDANCE (COVEY)Scarcity Mentality is the zero-sum paradigm of life. People with a Scarcity Mentality have a very difficult time sharing recognition and credit, power or profit – even with those who help in the production. They also have a very hard time being genuinely happy for the successes of other people – even, and sometimes especially, members of their own family or close friends and associates. Conversely, Abundance Mentality flows out of a deep inner sense of personal worth and security. It is the paradigm that there is plenty out there and enough to spare for everybody. It results in sharing of prestige, of recognition, of profits, of decision making. It opens possibilities, options, alternatives, and creativity.THE MUSICAL SELECTIONS (F-A-M-I-L-Y)All of these six pieces interact musically as one larger work or they can be performed independently from the collection with equally pleasing effects musically.1. “FINALLY” (Is Never Permanent…) Composed and Arranged By Christopher Burnett (BMI)2. “ALWAYS” (Is Never Giving Up…)Composed and Arranged By Christopher Burnett (BMI)3. “MAYBE” (It Is or Is Not…)Composed and Arranged By Christopher Burnett (BMI)4. “INFINITY” (Is The Reality…)Composed and Arranged By Christopher Burnett (BMI)5. “LATER” (Is Better Than Never…)Composed and Arranged By Christopher Burnett (BMI)6. “YESTERYEARS” (Bring Our Todays…)Composed and Arranged By Christopher Burnett (BMI)Thanks,Christopher Burnett (BMI)musician, composer, educatorhttps://BurnettPublishing.com.
ALWAYS (Is Never Giving Up)
Jazz combo
Christopher Burnett
$25.00 21.32 € Jazz combo PDF SheetMusicPlus

Small Ensemble Boomwhackers,Piano Accompaniment - Level 2 - Digital Download SKU: A0.569886 By Sharon Wilson. By Various. Arranged by Sharon Wilson Music. Children,Christmas,Folk,Sacred,Traditional. Score and parts. 77 pages. Sharon Wilson #6609343. Published by Sharon Wilson (A0.569886). This collection contains 10 familiar Christmas carols arranged for a one octave, 13-note chromatic scale Boomwhackers® choir with Piano accompaniment. For each song, the Piano provides an introduction then the Boomwhackers® play the melody and occasional 2-part harmony. Each song also includes an optional repeat and final ending in case a longer song is desired. For each song, there is a combined score with both instruments (Boomwhackers® and Piano) on a grand staff plus a separate color-coded score for the Boomwhackers®. The color-coded Boomwhackers® score uses the Chroma-Notes™ Colored Music System. If you have a set of tubes with a different color scheme, Chroma-Notes Stick Ons can be purchased and applied so the Boomwhackers® match this color scheme. A color-coded note chart is also provided for each song which shows the Boomwhackers® notes used as well as the number of times each note is played. The note distribution is helpful when assigning notes to whackers. You may want to assign fewer notes to beginners or evenly distribute the tubes between all whackers. The color-coded scores are enlarged so the colors are easier to distinguish and all sharps and flats are displayed (shown in the key of C) as reminders for beginning musicians. Also, only filled noteheads (quarter and eighth notes) are used so the notes are full color and easier to see. The number of whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two or three notes. For beginners, it is best to assign one or two notes to each person. Note assignment suggestions are included for each song and range from 4 to 8 whackers. These familiar Christmas carols are perfect for small groups and especially beginning musicians. Most songs can be performed with as few as 5 people (4 whackers and 1 piano player). The Piano accompaniment is written for an intermediate player. Other suggestions and uses: * use multiple sets of Boomwhackers® to amplify the sound and allow more people to enjoy whacking the tubes* use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a few Permission is granted to make up to 10 copies of each score. For more than 10 copies, please purchase additional sets. Each song is also available separately with accompanying preview pages and audio samples. Song titles included in this collection: Angels We Have Heard on HighBring a Torch, Jeannette, IsabellaDing Dong! Merrily on HighJoy to the WorldO Come, All Ye FaithfulO Come, O Come, EmmanuelO Thou Joyful DaySimple GiftsThe First NoelWe Three KingsBoomwhackers® is a registered trademark of Rhythm Band Instruments LLC, used by permission. Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
Christmas Carols (Collection of 10 Color-Coded Arrangements for One Octave Boomwhackers® with Piano)
Sharon Wilson
$19.99 17.04 € PDF SheetMusicPlus

Small Ensemble Bells,Handbell,Handchime,Piano Accompaniment - Level 2 - Digital Download SKU: A0.565864 By Sharon Wilson. By Various. Arranged by Sharon Wilson. Children,Easter,Holiday,Instructional,Sacred. Score and parts. 94 pages. Sharon Wilson #6285355. Published by Sharon Wilson (A0.565864). The title of this collection was inspired by the words found in Ephesians 5:19 (KJV) -- Speaking…in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord… This collection contains 10 hymns arranged for a one octave, 13-note chromatic scale Handbell choir with Piano accompaniment. For each song, the Piano provides an introduction then the Handbells play the melody and occasional 2-part harmony. Most songs include an optional repeat and second ending in case a longer song is desired. For each song, there is a combined score with both instruments (Handbells and Piano) on a grand staff plus two separate scores for the Handbells (one in standard format with black and white notes and the second with color-coded notes). The color-coded scores are enlarged so the colors are easier to distinguish and all sharps and flats are displayed (shown in the key of C) as reminders for beginning ringers. A color-coded note chart is also provided for each song which shows the Handbell notes used as well as the number of times each note is played. The note distribution is helpful when assigning notes to ringers. You may want to assign fewer notes to beginners or evenly distribute the bells between all ringers. As noted above, one of the Handbell scores for each song is color-coded for easier note reading for beginning ringers. These separate color-coded scores use the Chroma-Notes™ Colored Music System. If you have a set of Handbells with a different color scheme, Chroma-Notes Stick Ons can be purchased and applied so the Handbells match this color scheme. The number of ringers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two or three notes. For beginners, it is best to assign one or two notes to each person. Note assignment suggestions are included for each song and range from 4 to 9 ringers. These familiar hymns are perfect for small groups and especially beginning ringers. Most songs can be performed with as few as 5 people (4 ringers and 1 piano player). The Piano accompaniment is written for an intermediate player.Permission is granted to make up to 10 copies of each score. For more than 10 copies, please purchase additional sets.Each song is also available separately with accompanying preview pages and audio samples. Song titles included in this collection:  A Mighty FortressClose to TheeCrown Him with Many CrownsFor the Beauty of the EarthGlory to His NameJesus, Lover of My SoulOnly Trust HimPower in the BloodRing the Bells of HeavenSweet By and ByVisit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
Melodies to the Lord (A Collection of 10 Hymns for One Octave Handbells with Piano accompaniment)
Accompagnement Piano
Sharon Wilson
$19.99 17.04 € Accompagnement Piano PDF SheetMusicPlus

Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream
Eternal Bridge For Oboe Harp And Strings

$25.00 21.32 € PDF SheetMusicPlus

Small Ensemble - Digital Download SKU: A0.835769 Composed by Paul Burnell. Contemporary. Score and parts. 3 pages. Paul Burnell #3074281. Published by Paul Burnell (A0.835769). A text piece for one or more speakers with optional rhythmic percussion accompaniment performed ad libitum.Where the text is presented in bold the speakers should speak loudly, giving particular emphasis to text in capital letters. Where the text is presented in non-bold smaller text styles the speakers should speak less loudly or softer.   The speakers should vary the pitch of their voice throughout to give emphasis to the structure and to avoid a monotonous tonal delivery.   The repeated ‘words’ instinctively suggest a repetitive rhythmic style of delivery - this is fine.   The spaces in the text can be interpreted as rests. If there is more than one speaker the performers may either speak in unison throughout or stagger their entries and echo or overlap freely, but without losing the sense of the overall structure of the text.  Multiple speakers may also devise co-ordination points within the piece to co-ordinate collective unisons - then drift apart and overlap again.  A single speaker could also perform with an echoing sound effect that gives the impression of multiple voices. If performing with percussion, then a pulsed rhythmic style should be used.  The percussion may be freely chosen - drum kit, ‘found’ instruments, body percussion, pre-recorded backing track etc. - performing in any rhythmic style, but not detracting from or obscuring the vocal delivery. Programme note: ‘Wha-Do-Ya-Mean?’ was composed in 2008.   It was tested as a warm-up exercise for the CoMA London Ensemble, and then developed into a piece, first performed by Paul Burnell at Battersea Arts Centre, London in October 2008 and then included on the 2010 album ‘Sticking with Childish Things’.  It has subsequently been performed by CoMA Singers. The inspiration for the piece was derived from an increasingly fractious and reductive argument between two people, where one person was overheard saying What do you mean ‘what do you mean’?  This statement illustrated the pointlessness of the argument, and how comically ridiculous and meaningless it had become, and effectively ended it.
Wha-Do-Ya Mean?

$1.99 1.7 € PDF SheetMusicPlus

Choral Choir (SA) - Level 4 - Digital Download SKU: A0.999343 Composed by Dennis A. Westgate. Christian,Musical/Show,Pop,R & B,World. Octavo. 83 pages. Tyne Music #5869115. Published by Tyne Music (A0.999343). BROKEN DOLL: A full length family play in the TYNE ONSTAGE series of original musicals. With Drama, Comedy and Song . This is an educational piece for Directors or Drama Teachers in education or the Performing Arts.   Set in Heaven, Broken Doll tells the story of a group of recently deceased young women looking down on a teenage girl who is contemplating suicide. They are not told why and the role of the group is to persuade the girl's Spirit, to return to its host. There are a wide range of characters within the piece and although they all have one thing in common, (they are all female), their outlooks and life experiences are naturally all very different and each has an opinion on the cause of the young girl's demeanour and to come up with with a proposition on how to save the girl’s life.    This is presented through the music and dialogue. Vocally the cast will have different capabilities and timbres.This diversity of styles in characters and the memorable musical content should appeal to teenagers as well as family members.   The stage set is very basic, making the overall cost much lower, allowing it to be performed anywhere with a suitable space. It also has the potential to be filmed and the subsequent DVD could then be made available to anyone working with young people. All the necessary advice, information and useful contacts, should be provided in the programme notes. The album includes the Piano & Vocal Score along with the full Libretto.For full information please see my website:- https://www.tynemusic.com/broken-dollP.S. There are also a set of band parts available on request from the composer.SONG TITLES 1)     Look to the Stars 2)     Sad Reflections 3)     Three Little Words 4)     Morning Mist (ballet sequence) 6)     Pills & Potions 7)     Men! 8)     Don’t Talk to Me 9)     Poor Sister10)    Grains of Sand11)    Some Say12)    Broken Doll
BROKEN DOLL an original all-girl stage musical
Chorale 2 parties

$50.00 42.63 € Chorale 2 parties PDF SheetMusicPlus

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Arlo Guthrie
$3.99 3.4 € Chorale TTBB PDF SheetMusicPlus

String Trio Cello,Viola,Violin - Level 4 - Digital Download SKU: A0.1461717 By Jvke. By Jacob Lawson and Zachary Lawson. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Singer/Songwriter,Wedding. 10 pages. Sarah Cellobat Chaffee #1040465. Published by Sarah Cellobat Chaffee (A0.1461717). *INSTRUMENTATION: VIOLIN, VIOLA, CELLO*Jacob Dodge Lawson, better known to fans around the world as JVKE, is a singer-songwriter and pianist who began releasing his self-produced music while stuck at home during pandemic lockdowns. Audiences around the world were soon captivated by his ethereal voice, unconventional song constructions, and virtuosic piano skills; his song Golden Hour became his first Billboard hit and kickstarted his career as a touring and award-winning artist. Along with Golden Hour, his debut EP included another breakthrough hit, This Is What Falling In Love Feels Like, which has also become a widely played and platinum-certified song. So it's no wonder people have been requesting it for strings! This Cellobat arrangement for your violin/viola/cello trio was originally written for a wedding ceremony, but it will also be great for prelude, cocktail hour, receptions, parties, and more. Maintaining the quirky energy, wall-of-sound approach, and signature string lines of the original, this one is sure to be lots of fun to play! Rated advanced-intermediate for a few tricky rhythms, tempo changes, and a few high notes in the violin part (up to 5th position); this won't be too difficult to put together, but will probably warrant a run-through before performing.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobathttp://www.facebook.com/SarahCellobatChaffee
This Is What Falling In Love Feels Like
Trio ŕ Cordes: violon, alto, violoncelle
Jvke
$14.99 12.78 € Trio ŕ Cordes: violon, alto, violoncelle PDF SheetMusicPlus






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